Tag Archives: robmounsey

It all came back to me recently when I heard some church bells in Totnes ringing out the opening bass melody from ‘We Could Send Letters’.

Although always one of my AC favourites, I hadn’t heard the song in years. Cue a period of rediscovery and a realisation that Roddy Frame penned four or five stand-out songs of the ’80s.

The guy had it all – intelligent lyrics, guitar chops, classic songcraft, good looks. Arguably the only thing missing was the classic album that his talent warranted.

But no matter: there were plenty of treats anyway. Here are a few:

4. We Could Send Letters (1983)

The low-key beginning builds into an epic, love-lorn pop gem, oddly never released as a single. Though dated by its Syndrum fills and airy production, the song however is water-tight with that lovely hike up into the chorus. An ’80s break-up classic.

3. Oblivious (1983)

Summery, Flamenco-tinged pop gem that reached number 18 in the UK singles chart. Frame works the minor/major thing beautifully (minor-key verse, major chorus), nails a very tricky acoustic guitar part and also pulls off the seldom-achieved trick of writing something catchy but not annoying.

2. Deep And Wide And Tall (1987)

Openly states the pressing question perhaps underlying all great pop music: are we going to live together? Roddy and producer Russ Titelman achieve the Scritti groove sought throughout the Love album. A mixture of spine-tingling backing vocals and major-seventh chords fuse to gorgeous effect. Inexplicably reached a lowly number 87 in the UK.

1. Working In A Goldmine (1987)

Roddy’s ‘blue-eyed-soul’ period wasn’t an outright success but this shimmering ballad with its fine Rob Mounsey arrangement is a standout. Seemingly about the unknowability of a lover (‘We love/What shines/Before our eyes/Why can’t we learn/What hides?’), it features one of the most sublime middle-eights (or, more accurately, middle-sixes) of late-’80s pop.

Though her most famous Letterman appearance was probably 1994’s swearfest, here she comes off more like a naughty big sister than an established star. Madonna and Sandra Bernhard laugh off Dave’s temper tantrums and seem to have stepped out of a ’50s B-movie.

4. Live Aid

This footage from La Ciccone’s Philadelphia appearance on 13th July 1985 gives a great insight into the atmosphere on the day and the adrenalin(and other substances?)-fuelled panic of the artist soundchecks. Live Aid came just a week after Madonna’s pre-fame topless pictures were leaked to the press. Her response was to wear lots of layers and silence the cat-calls with style, humour and an irrepressible joie de vivre.

3. ‘Crazy For You’

Most of my favourite Madonna tracks are ballads (‘This Used To Be My Playground’, ‘Take A Bow’, ‘Something To Remember’, ‘Oh Father’, ‘Promise To Try’) but this is possibly the pick of the bunch. Beautifully arranged by Steely Dan/Ashford & Simpson man Rob Mounsey (though that snare is still too big…), it was transformed from just another song in a so-so movie into a UK number 2 and US number one in March 1985.

2. The 1984 MTV Awards

A totally shameless and over-the-top celebration of womanhood. Imagine the reactions of the Armani-suited execs in the stalls. Madonna and Joni Mitchell have both spoken publicly about the chauvinistic attitudes that prevailed in the music industry of the mid-’80s. This was a brave response. Love her or loathe her, you’ve gotta admire her…balls.

1. The ‘Desperately Seeking Susan’ club scene

For many people, this was her only decent movie performance, and I wouldn’t argue with that (though I need to see Abel Ferrera’s ‘Snake Eyes’ again…). Polanski paid homage to this scene ten years later in ‘Bitter Moon’, starring Hugh Grant, to similarly comic effect.